First, we should firmly grasp the brushwork of Zhang Daqian's calligraphy and painting, or his artistic style.
It is impossible for a prosthetic hand to learn all the brushwork and habits formed by an artist in decades of artistic practice. Even if you plagiarize, it can only be superficial. It is impossible to achieve vivid similarity, and so is Zhang Fa's paintings. According to Zhang Daqian's landscapes, figures and flower-and-bird paintings, it can be roughly divided into three periods:
(1) In his early years, before he went to Dunhuang at the age of 43 in 194 1, Zhang Daqian mainly studied Shi Tao and Badashan people and imitated their works in large numbers. His pen is neat, witty, handsome and refreshing. Although the characters in the landscape are sketched from life, they are full of energy, much like Shi Tao, but there is no simple and heavy style of Shi Tao. Zhang Daqian's fake paintings in this period are prone to defects of small characters in landscape paintings and fine grass by the water. Zhang Daqian's works are vigorous and graceful in style, round in face, rigorous and smooth in lines, and harmonious with the whole picture; The pseudo-Zhang Daqian's works are weak and unremarkable, with little sense of wholeness. Zhang Daqian's paintings of ladies mainly learn from the Qing Dynasty painter Geqi. The ladies he painted are all thin and have a kind of "morbid beauty". His paintings of flowers, fruits and vegetables mainly draw lessons from the small freehand brushwork styles of Ming and Qing Dynasties, such as Chen Chun, Xu Wei and Badashanren. I especially like painting lotus plantains. The technique is mainly freehand brushwork, but it is both meticulous and meticulous. Its painting style is fresh, lively, handsome and cold, with bright, clean and beautiful colors. The painted plum blossoms are as dry as iron, and the brushwork is cold-resistant and clean. The painted orchids are fragrant and clear, and the word "Qing" is everywhere. The painted chrysanthemum is pointed and round, and the flower state has a cold and proud frost posture, and it never obeys others. His brushwork of drawing ink bamboo and bamboo branches absorbing seal script; Painting bamboo leaves, written vigorously, mostly in the form of a word or a Chinese character, almost no shape of a Sichuan word; The bamboo poles drawn are almost the same in thickness from top to bottom, without the shortcomings of big two ends, small space and bee waist and crane knees. Zhang Daqian's lotus flowers (except splash ink) are mostly dipped in light cyan to sweep out the general shape, then rendered in layers of juice green, and then the outline and markings of petals are drawn in lines to show that the petals are facing backwards.
(2) The middle period refers to the artistic maturity from Zhang Daqian's going to Dunhuang to 1957, when he was 59 years old. At this time, Zhang Daqian's painting style has changed greatly because of the deep influence of Dunhuang murals. His landscape paintings still have the shadow of Shi Tao in fine grass, painting method and color setting, and mainly adopt the dense and complicated painting style of the French king Meng. The picture has changed from delicate and refreshing to magnificent and magnificent, and his skill is deeper in the earlier years. At this time, figure paintings, especially ladies' paintings, have rounded faces, plump figures, rich colors, rigorous line drawing and exquisite clothing patterns. At this time, his character creation entered the golden age, that is, from small to refined, from Hinayana to majestic, from morbid beauty to healthy beauty, and integrated innovation into retro creation. The ladies he painted are elegant and charming, and the lines are delicate and round, and they are rendered in many places, leaving waterlines to enhance the concave-convex effect of the lines. In contrast, the bamboo and plantain in the background are painted with stone green to set off the elegant clothes of the characters, thus forming a simple and beautiful style. At this time, the flower-and-bird paintings not only retained the charm of early Chen Chun, Xu Wei and Badashan people, but also learned the meticulous painting method of Dunhuang murals, such as Chen Hongshou in the Ming Dynasty and Evonne in the Song Dynasty, forming a variety of styles with full charm and both work and intention. There is little traditional skill in painting fake ladies.
(3) Later, from 65438 to 0958 at the age of 60 until his death, Zhang Daqian's paintings gradually turned into freehand brushwork. At this time, he painstakingly explored and innovated, absorbed the advantages of western abstract painting school on the basis of inheriting the tradition, and created a new style of landscape painting, which made his painting creation reach its peak. His splash-ink and splash-color paintings combine color and ink, semi-abstract and freehand brushwork, which is a clever combination of Chinese and western. Moreover, forgers often paint broken ink and splashed ink into a black mass, with no sense of hierarchy and exquisiteness. At this time, most of Zhang Daqian's figure paintings are freehand brushwork, the lines of characters tend to be concise, the scenes are mostly intentional, and the pen and ink are smooth, which means "the boss turns to be clumsy". At this time, his paintings of flowers, birds and animals are mainly broken ink, splashed ink and splashed color. In addition to maintaining the influence of Chen Chun, Xu Wei and Shi Tao, it also contains the flavor of heroes, pushing ink-and-wash flowers and birds to a new field.
Secondly, Zhang Daqian's paintings and calligraphy works are an important basis for painting and calligraphy appraisal, and also the place where forgers work the most. Zhang Daqian studied under Zeng and Li Ruiqing in his early years. His calligraphy style is immature and natural, but he has not yet formed his own style.
After studying Shi Tao and Badashan people, his calligraphy has two faces. One is the calligraphy style of Zeng Xi and Li Ruiqing, which is exquisite and square, with a slight taste of official books; The other is to learn Shi Tao's vigorous, bold and eclectic style of writing. Zhang Daqian's regular script at this time has a strong taste of official script. After learning, Wei Bei, Yi heming and Huang Tingjian were replaced, forming a neat style of writing, seeking innovation in the middle, and starting with official script. Zhang Zaiqian's donation is very distinctive. His name is Ji, and the word "Ji" in his early years is next to the word "bug". Because the ancient words "Yi", "Net" and "Ape" are interlinked, it is also called "Ji". He became a monk at the age of 265,438+0 and studied under Zeng Xi. However, due to the lack of knowledge in this field, forgers often write money wrong or put it in the wrong time. Judging from the works handed down from generation to generation, there are three different ways to write the word "Gui". In Zhang Daqian's early years, before he was about 34 years old, the Chinese character "Gui" had a small head and a big bottom. The so-called "Gui" has a short three horizontal lines (actually the left horizontal line) and a large lower half, which looks like an ape, such as "Jiangcun Fishing" and "Huangshan Songxi". After about 34 years old, the word "Sui" was written in grass, the top of the font became larger, and the last stroke of the three horizontal strokes was longer than in the early years, so it was written in pen.